Kathaprasangam

Story telling has been an integral part of ancient Indian socio-religious gatherings. Religious festivals or social occasions such as weddings etc. were considered simply incomplete without a story telling session. As each region developed its unique style of story narration, South Indians developed the art to suit their society and interest. Kathakalakshepa is the famous at form in South India in which one single performer entertains an audience with tales and anecdotes putting his musical, acting and story rendering skills to best use. The themes were borrowed from the ever popular religious epics, the Puranas and Hindu religious mythology. Musical accompanists supported the performer in dramatizing the performance and keeping the interest of the audience piqued up. In Kerala, story telling developed into three different art forms – Patakam, Harikatha and Kathaprasangam.

While Patakam is Kerala’s version of Purana Pravachana i.e. rendition of the Sanskrit Puranas in Malayalam to reach out to the common man, Harikatha is a direct influence of the Tanjore style of Kathakalakshepam. Kathaprasangam, However is an art form unique to Kerala alone. Though born initially out of the temple culture and the socio-religious sentiments of the Malayalis, Kathaprasangam grew and developed with society; in fact it became instrumental in bringing about radical, progressive trends into Malayali society.

The origins of the name Kathaprasangam are not clearly known. It may have been derived from Tanjore’s story telling style in which tales from the Ramayana are recounted or the art may have been called Kathaprasangam simply because it is a form of story exposition. Whatever the reasons for such a nomenclature, the style, content and tradition of Kathaprasangam is entirely Keralan in its essence. Kathaprasangam is different from the Patakam and Harikatha in its very purpose. While the later attempt at spreading Bhakti (devotion) and the audience is essentially the devout Hindu, Kathaprasaam is completely secular in its outlook. The attempt is to create cognizance of the Malayalam language and its growing literature on the one hand and promote the need for social reforms and an anti dogmatic outlook. Thus the audience too was not necessarily Hindu.

After a period of tyrannical caste oppression, Kerala generally woke up to the need for a secular and homogenous society with equal opportunity for all and towards which all members could contribute equally and productively. With the dawn of such a renaissance, the various art forms which were temple based, community based and religion based also went through a major reformation. Thus, late 19th century and early 20th century saw the spectacular popularity of Kathaprasangam. In Kathaprasangam, the performer or artist uses Malayalam literary texts and pieces, high in satire and criticism to entertain the audience with the tales and also to drive home a lesson or two in social reformation. The story chosen is usually high in emotional content as this is an appeal and an inspiration fore the common man to walk the path of humanity and cast of the dogmatic thinking of yesteryears. Two novels, Chandalabhikshuki and Karuna were favorites with both performers and audience. Works with a social message and of writers such as Shakespeare (Romeo and Juliet), Ibsen, Tolstoy (Anna Karanina), Dostoyevsky, Victor Hugo and many reformist Malayali writers, such as Asan, Vallatol and Ulloor have been adapted to form the tales expounded through Kathaprasangam. The artists supported the cause of social upliftment, eradication of corruption and reformation of the caste ridden society. “Ore Deivam, Ore Kulam” (One God, One Caste), they preached. Songs, anecdotes and biographical accounts and make the performance a lively one and ensure its popularity.

Just as the language used during a Kathaprasangam rendition is the vernacular, Malayalam which is closest to the common man’s heart, the music used also is not classical, which needs technical knowledge to interpret its many taalas and ragas. Instead, semi classical and light music (similar to film music) is played by a small orchestra comprising popular instruments such as violin, harmonium and percussion instruments.

Satyadevan, M P Manmadan, K K Vadyar, P C Abraham, Joseph Kaimamparamban and V Sambasivan have all been famous proponents of this art form.

The popularity of the art runs high in Central and Southern Kerala and is spreading fast in the Northern parts of the state too. This performing art received patronage from many secular, democratic and social protest movements of the state of Kerala such as the Sree Narayana Movement, started by social reformer Sri Narayana Guru.